Category: New Releases

Once Upon a Time in Hollywood (2019)

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Quentin Tarantino is without a doubt one of the most acclaimed and influential filmmakers still working in the industry today. He first came onto the scene with the release of 1992’s Reservoir Dogs, which was an instant critical hit. This was followed by 1994’s Pulp Fiction, which was both a critical and commercial hit, earning him an Academy Award. His next film, 1997’s Jackie Brown, though a hit with critics, wasn’t as financially successful, so he took a break. He came back with the release of Kill Bill: Volume 1 in 2003 and Kill Bill: Volume 2 in 2004. Though 2007’s Grindhouse was a disappointment, he rebounded with 2009’s Inglorious Basterds and 2012’s Django Unchained, both winning Oscars. After the release of 2015’s The Hateful Eight, Tarantino cut ties to The Weinstein Company after the sexual abuse accusations. Cut to 2019, and Once Upon a Time in Hollywood is released.

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Rick Dalton (Leonardo DiCaprio) is an aging actor known mostly for being in TV Westerns who’s struggling to remain relevant. His stuntman/best friend Cliff Booth (Brad Pitt) does his best to help him along and give him encouraging words. At the same time, actress Sharon Tate (Margot Robbie) has just moved in with her husband Roman Polanski (Rafał Zawierucha). While Rick gets a job playing a villain on a new TV Western, Booth meets hippie chick Pussycat (Margaret Qualley). After giving her a ride to Spahn Movie Ranch, she asks him to stay, but Booth has his suspicions. Turns out this hippie commune is led by one Charles “Charlie” Manson (Damon Herriman), and they’ve been squatting there. Eventually, Rick gets an offer to shoot films in Italy, which he reluctantly agrees to despite their poor reputation. Eventually, these various subplots comes together in one insane climax of violence and death.

Like many of Tarantino’s previous films, this is certainly one of the most well-made and well-crafted films in recent years. First off, the performances are phenomenal, especially DiCaprio, Pitt, and Robbie, the scenes between DiCaprio and Pitt a major highlight. Their scenes together feel like two people who’ve been lifelong friends, and they share some great banter between them. Other cast highlights include Al Pacino, Kurt Russell, Timothy Olyphant, Bruce Dern, Zoe Bell, Dakota Fanning, and Luke Perry. Though many of these are nothing more than cameos, each one is given their moment to shine and they’re fantastic. Along with the cast, Tarantino’s writing is outstanding, once again feeling like natural conversations rather than written dialogue. Even in scenes where not much happens, the dialogue keeps you engaged and the actors deliver it pitch perfectly. Filmmaking-wise, the direction is on-point and perfectly captures a late 60s vibe.

Admittedly, though there’s plenty to love here, there are some issues with the film, though mostly in the pacing. The first act starts off strong, but then much of the second act tends to drag things to a halt. While there’s still some entertaining scenes of DiCaprio struggling as an actor and Pitt cruising along, not much plotwise happens. Also, though Robbie delivers a great performance, she’s not given much to do and doesn’t factor into the plot much. Granted, many of Tarantino’s movies are known for having multiple subplots that eventually intersect into one another towards the end. Plus, it’s somewhat refreshing to have a movie that’s much slower and chill amongst the many bombastic blockbusters released today. Some may be put off by the slow pace and lack of a straightforward narrative, but others will enjoy it. Overall, Once Upon a Time in Hollywood is another Tarantino gem.

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July 26, 2019
Crawl (2019)

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I’ve talked about Sam Raimi before with my reviews of his Evil Dead trilogy, classics in their own right. While continuing to direct, Raimi and his producing partner, Rob Tapert, started the production company Ghost House Pictures in 2002. The company started producing mid-level budget horror films such as The Grudge, 30 Days Of Night, and Don’t Breathe. Around the same time, French filmmaker Alexandre Aja entered the scene in the horror film industry with 2003’s High Tension. He soon moved on to doing 2006’s The Hills Have Eyes, a remake of the Wes Craven original from 1976. Though he didn’t direct the sequel, he directed 2008’s Mirrors and 2010’s Piranha 3D, a remake of the 1978 original. Similar to Hills, Aja didn’t direct the sequel, but instead directed 2013’s Horns and 2016’s 9th Life of Louis Drax. Now, he and Ghost House have teamed up for 2019’s Crawl.

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Haley Keller (Kaya Scodelario) is an aspiring swimmer at University of Florida struggling to succeed despite her best efforts. After a recent meet, she hears news of a Category 5 hurricane about to make its way to Florida. She gets a call from her sister Beth (Moryfydd Clark) that their estranged father is not returning their calls. Concerned about his health, Haley goes against the multiple warnings and goes further towards the hurricane to find her father. She finds her father (Barry Pepper) in their old house, but he’s trapped in the basement with a huge scar. Turns out the storm caused several large alligators to get loose, and they’ve taken up residence in the Keller’s house. With her father badly injured, Haley has to find a way to escape while surviving against the onslaught of alligators. Will they survive, or will the gators leave with full stomachs?

On the surface, Crawl is nothing that hasn’t already been done before: people trapped somewhere with something attacking them. Hell, plenty of other movies have centered around killer alligators, such as Eaten Alive, Lake Placid, Alligator, and Primeval. However, what Crawl lacks in originality, it more than makes up for in its execution as everything in here works. First off, Kaya Scodelario and Barry Pepper are excellent as the two leads, Kaya especially giving it her all here. Though Pepper is immobile for most of it, he still has moments to shine and has great chemistry with Kaya. You really feel for these two, not just because of their situation, but because of the character development they’re given. It’s pretty standard stuff, i.e. family being separated, main character doubting their abilities, etc., but it’s very well done. It certainly helps that the two really elevate the material.

Alexandre Aja’s direction is top notch, and he really knows how to establish suspense and tension all throughout. There were so many moments where I was genuinely nervous about what would happen and if the characters would survive. As expected, the alligators are mostly CGI, but it’s done convincingly enough and probably safer than using real alligators. Admittedly, this might be more of a nitpick, but there are some moments that make the characters seemingly invincible. Without spoiling anything, there are moments where Haley is bitten on the leg and arm by alligators, but she’s fine. Of course, she does have some scratches and limps, but an alligator biting down on you would do more damage. Still, Crawl is so well-done and entertaining that moments like that are forgivable and don’t ruin the overall quality. Overall, Crawl is a fun animal attack film with great acting, directing, and thrills.

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July 22, 2019
Midsommar (2019)

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Synopsis

Dani (Florence Pugh) has just recently suffered a family tragedy, and looks to her boyfriend Christian (Jack Reynor) for comfort. Unbeknownst to her, he has been talking with his friends about how he’s been wanting to end the relationship. He and his friends, Pelle (Vilhelm Blomgren), Josh (William Jackson Harper), and Mark (Will Poulter) are planning a midsummer trip. Dani decides to tag along to help clear her mind, much to the chagrin of Christian and his friends. They travel to a small village in Sweden that Pelle grew up in to partake in their annual midsummer festival. At first, things seem peaceful and tranquil, if not slightly strange, but things soon take a turn for the worse. Some of the others try to leave the village, only to be met with opposition from the villagers. While Christian and friends have their suspicions, Dani comes to accept them.

Review

Hereditary was easily one of the best films of 2018, despite forgetting to include it on my best-of list. So naturally, when I heard the director of that had a new film coming out, I was sold right away. Having now seen Midsommar, I don’t think this is as good as Hereditary, but it’s still an impressive film. Acting-wise, everyone does a great job, particularly Florence Pugh, whose performance is mesmerizing. Not only is she instantly sympathetic, but she handles the more emotional scenes very well and even has some intensity. Much like his previous films, Ari clearly knows where to point the camera, as the film-making on display is exquisite. The cinematography and editing really help give Midsommar a sense of unease and disorientation, especially in the third act. On a technical level, this is easily one of the most well-made and impressive films of 2019 so far.

However, like I said before, Midsommar has some issues that hold it back from being perfect, but still great nonetheless. For one, the opening of Dani’s family tragedy doesn’t really play into what happens later on, serving merely as setup. Granted, there are times throughout the film where Dani occasionally has visions of her family after their tragedy. While Hereditary did a great job at exploring how we deal with grief and tragedy, this doesn’t explore those themes. Instead, Midsommar explores themes of toxic masculinity and challenging societal norms, particularly in Dani’s relationship with Christian. Also, the very concept of Americans visiting a foreign land and bad things happening is a story we’ve already seen. While not necessarily a bad thing, because it’s a familiar story, you can more or less determine where it’s going. Overall, Midsommar is still an impressive and worthwhile sophomore film from Aster despite some flaws.

Buy Midsommar on Amazon: https://amzn.to/3Yzc52j.

Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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Where to watch Midsommar (2019)

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July 11, 2019
Spider-Man: Far from Home (2019)

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Even before the release of Spider-Man: Homecoming, Sony and Marvel were in talks to produce future installments in the series. Thankfully, the film was such a hit that a sequel was announced to be released in the summer of 2019. Unfortunately, this ruined any secrecy surrounding Marvel’s plans for Spider-Man given his fate in Avengers: Infinity War and Avengers: Endgame. Still, they forged on ahead, bringing back Homecoming’s director Jon Watts, as well as much of the original cast members. One new addition to the cast was Jake Gyllenhaal, who was originally supposed to replace Tobey Maguire for Spider-Man 2. Maguire suffered an injury while working on Seabiscuit, but he recovered and returned to play the friendly neighborhood web crawler. Fast forward to 2019, 15 years later, and Gyllenhaal finally gets to be in a Spider-Man movie. So, without further ado, let’s take a look at Spider-Man: Far From Home.

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Synopsis

After the events of Avengers: Endgame, those who were blipped out of existence have come back, trying to live normally. People are also trying to cope with the loss of many of the heroes who were lost during those events. One of those is Peter Parker (Tom Holland), who’s going on a class trip to Europe for the summer vacation. He has two major goals for the trip: confess his feelings to MJ (Zendaya) and avoid any superhero work. Unfortunately, that all changes when a giant water monster attacks Venice and a mysterious figure arrives to fight it. Peter is soon contacted by Nick Fury (Samuel L. Jackson), who introduces him to this figure, Quentin Beck (Jake Gyllenhaal). Turns out the creature is one of many Elementals, and it’s up to Mysterio (Beck) and Spider-Man to stop them. Will they be able to stop the Elementals, and who is Mysterio?

Review

Given how good Tom Holland has been in the last few movies, it’s safe to say he’s the best Spider-Man. In Spider-Man: Far From Home, he’s really grown into his own and once again does a great job. Jake Gyllenhaal is easily the highlight of the film, stealing just about every scene he’s in with his immense charisma. While they have limited screen time, Marisa Tomei, Jon Favreau, Samuel L. Jackson, and Cobie Smulders also have their moments. Zendaya, who was a somewhat minor character before, is greatly expanded upon, and she has great chemistry with Holland. Though their romance seems somewhat out of nowhere given how it wasn’t hinted at before, it still works really well. What makes Spider-Man: Far From Home work is how it’s both a superhero movie and a high school movie. They really nail Spider-Man’s struggle between superheroics and having a normal life.

Like any good superhero movie, the action sequences are fun to watch, especially in the film’s climax. Without giving too much away, there are some twists here and there with callbacks to previous films in the MCU. These callbacks really show just how far this franchise has come and serves as nice tie-ins for those films. If I do have any complaints, I’d say that the humor is 50/50, mostly working, but not always. There are plenty of funny moments to be had, but some moments seem somewhat forced or out of place. Granted, they don’t ruin the overall tone, but every so often, a joke will happen when it isn’t warranted. Even still, this takes everything that made Homecoming work, and further expands upon it, resulting in an overall better movie. Overall, Spider-Man: Far From Home is another welcome addition to the MCU and its long history.

Buy Spider-Man: Far From Home from Amazon: https://amzn.to/49nJvbo.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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Where to watch Spider-Man: Far from Home (2019)

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July 4, 2019
Toy Story 4 (2019)

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With the release of Toy Story 3, Pixar had planned for that entry to be the finale to the franchise. In fact, Lee Unkrich, who directed the previous film, stated that they had no immediate plans for a fourth film. John Lasseter, the head of Pixar, further emphasized this point, until he, Lee, Andrew Stanton, and Pete Docter had ideas. Josh Cooley, the head of story on Inside Out, was hired to co-direct with Lasseter, but Lasseter willingly stepped down. Interestingly, Lasseter said in an interview with Variety, “we do not do any sequel because we want to print money.” When it came to doing voice-overs, both Tom Hanks and Tim Allen expressed how emotional and heartfelt the story was. While many of the original cast returned, sadly Don Rickles passed away in 2017, though they used previously recorded voice-overs. So, nine years later, we now have Toy Story 4.

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Synopsis

With Bonnie (Madeleine McGraw) as their new kid, our favorite toys couldn’t be any happier, except for Woody (Tom Hanks). While he’s happy to be one of Bonnie’s toys, he starts being played with less and less overtime. Things change when she has to go to kindergarten orientation, and Woody decides to join her and keep her safe. During Arts & Crafts, she creates a makeshift toy out of a spork, pipe cleaners, popsicle sticks, and googly eyes. She names it Forky (Tony Hale), and he immediately starts going to the trash can, believing that he’s trash. It’s now Woody’s job to make sure Forky is safe since he means so much to Bonnie despite his objections. During a road trip, Forky ends up jumping out the back window, and Woody goes after him and rescue him. Along the way, they meet friends old and new, starting a new adventure.

Review

When news of Toy Story 4 first surfaced, I was very skeptical, feeling that this all for the money. Fortunately, I’m happy to say that this is a phenomenal entry and one of the best animated films in years. First off, the animation is breathtaking, almost photorealistic at times, really showing just how far Pixar has come. Much of the returning cast, including Tom Hanks, Tim Allen, Joan Cusack, Wallace Shawn, and John Ratzenberger deliver solid performances. Though I was worried about him being annoying comic relief, I actually grew to love Forky as a new character. Another casting highlight are two plush toys named Ducky and Bunny, voiced respectively by Keegan-Michael Key and Jordan Peele. Also, Keanu Reeves voices a Canadian stunt toy called Duke Kaboom, who steals the show with his Canadian puns. There honestly is no false note when it comes to the cast assembled here.

Toy Story 4’s central focus is the Woody and Forky’s relationship, similar to his relationship with Buzz in Toy Story. What makes it different is that Woody recognizes Forky’s importance and tries to help him rather than object to him. Another major plot element revolves around the return of Bo Peep (Annie Potts) and the romance with Woody from before. Not only is the romance sweet, but Bo Peep is greatly expanded upon, making her one of the biggest highlights. There is a somewhat central villain, a talking doll called Gabby Gabby (Christina Hendricks), but she becomes more sympathetic. This film deals with some pretty heavy themes, such as finding one’s worth, clinging to the past, and self discovery. Toy Story 4 appeals to adults and kids of all ages. Overall, whether or not it’s the last, Toy Story 4 is still a great time for the whole family.

Buy Toy Story 4 from Amazon: https://amzn.to/484eCql.

Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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Where to watch Toy Story 4 (2019)

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June 23, 2019
Toy Story 3 (2010)

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Following the massive success of Toy Story and Toy Story 2, Pixar was becoming a force to be reckoned with. Instead of producing another sequel right away, they created films such as Monsters Inc, Finding Nemo, The Incredibles, and more. Around the same time, tensions between Disney and Pixar were worsening, a possible split between the two seeming likely. In 2004, Michael Eisner, then Disney chairman, started working on a third entry at his Circle 7 Animation studio. Eventually, the studio fell apart, and Disney acquired Pixar in 2006, John Lasseter named head of Pixar and Disney Animation. Though Circle 7 had a concept planned, Pixar decided to scrap their ideas and start fresh with their own concept. Unfortunately, many of the files they had for the original were unusable, so they had to start from scratch. After years of work, 2010 finally saw the release of Toy Story 3.

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Years have gone by since the first two films, and Andy (John Morris) has grown up and going to college. He plans on taking Woody (Tom Hanks) with him to college, while taking the remaining toys up to the attic. His mother accidentally throws them in the garbage, so they escape, hop into her car, and hide in a box. Woody tries to convince them to stay, but the toys don’t believe him, so he goes along with them. They’re taken to Sunnyside Daycare, where they meet other donated toys, led by Lots-O’-Huggin’ Bear aka Lotso (Ned Beatty). While the others are excited, Woody is skeptical and tries returning home, but is taken by young Bonnie (Emily Hahn). Meanwhile, the other toys are put in the toddler room, where they’re subjected to all sorts of rough play. They soon learn the truth about Lotso, and Woody must save them.

Coming out eleven years after the previous entry, Toy Story 3 certainly had a lot to live up to. Luckily, this entry not only lives up to the first two, but it works as a standalone fantastic animated film. Given that so much time has passed between films, Pixar made major advancements in their animation, and it really shows. Even several years later, the animation still looks incredible, really showing how far they’ve come since Toy Story. Like before, the characters are what makes these films so memorable, and this one is no exception. Several of the original toys return, all doing a great job, and the new ones are more than a match. Much like Stinky Pete in Toy Story 2, Lotso initially comes off warm and welcoming, but quickly takes a turn. Ned Beatty does a great job going between these moods and is perfectly cast.

Some minor characters from before, notably Mrs. Potato Head (Estelle Harris) and Barbie (Jodi Benson), are further expanded upon. The scenes between Barbie and Ken (Michael Keaton), in particular, provide some of the biggest laughs. Another stand-out gag is when Buzz (Tim Allen) accidentally gets set to Spanish and basically turns into Antonio Banderas. The climax is a mixture of suspenseful and exciting as the toys try to escape from Sunnyside. Once it gets towards the last act, there are some really emotional moments that will leave most audience members crying. Without going into spoilers, it’s a perfect metaphor for taking your childhood things and passing them onto a new generation. It’s a perfect way to cap off the overall story, while also leaving open opportunities for future installments. Overall, Toy Story 3 continues the legacy of the previous films and ranks as one of Pixar’s finest animated features.

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June 20, 2019
Dark Phoenix (2019)

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Originally created by the legendary duo Stan Lee and Jack Kirby, the superhero group the X-Men debuted in September 1963. A group of mutants who each have their own unique powers, the series was seen as commentary on social prejudice. While the series had its highs and lows, the characters proved popular enough to spawn movies, TV shows, cartoons, etc. Released in 2000, the first X-Men proved to be a massive success and led to a long running franchise. Much like the comics, the film franchise saw its own highs and lows, but it still proved to be successful. In addition to the main films, there were spin-offs focused on the popular character Wolverine, played by Hugh Jackman. There were also the Deadpool films, and eventually the various spin-offs crossed over with the main series with various results. After several years, here comes the supposed last X-Men movie, Dark Phoenix.

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Professor Charles Xavier (James McAvoy) receives a distress call from the President about the Endeavor space shuttle being critically damaged. In response, he sends a team of X-Men led by Raven/Mystique (Jennifer Lawrence) to rescue the crew. They manage to save the crew, but Jean Grey (Sophie Turner) ends up absorbing the energy of a solar flare. She survives, and the energy she absorbed has increased her powers, but also made her unstable, accidentally attacking her friends. After learning the truth about a childhood incident and accidentally killing Raven, she seeks help from Magneto (Michael Fassbender). At the same time, an alien named Vuk (Jessica Chastain) is seeking the power that Jean absorbed and confronts her. Magneto soon learns what Jean did and vows to exact revenge along with Beast/Hank McCoy (Nicholas Hoult). With friendships strained and Jean’s power becoming unstable, things will never be the same.

While some entries are certainly better than others, I’ve generally been happy with the X-Men movies and have few complaints. Many of the recent entries, like X-Men: First Class, The Wolverine, X-Men: Days of Future Past, and Logan, are phenomenal. However, after the mediocrity of X-Men: Apocalypse, and the delayed release of this and New Mutants, I started losing faith. Though this isn’t as bad as critics are saying, I do agree that Dark Phoenix is a pretty big letdown. One positive of the film is that the cast, for the most part, does a great job despite the material. Sophie Turner, James McAvoy, Michael Fassbender, and Nicholas Hoult particularly stand out, while Tye Sheridan and Evan Peters are wasted. Speaking of, while she does the best she can, Jessica Chastain is completely wasted as a one-dimensional villain. Like I said, the cast is generally strong despite the weak material.

The other positive I’ll give this is that, while few and far between, the action sequences are fun and exciting. Though it was part of the reshoots, the train sequence is the highlight of the film, highlighting the mutants’ powers. Unfortunately, that’s where many of the positives I have end, as this movie is a pretty disappointing mess all around. While the actors do a good job, there’s not much given to their characters and have the vaguest character development. Also, when there aren’t any action sequences, much of the film is delivering exposition and explaining things, dragging things down. These do lead to some good character moments, like Beast confronting Xavier over his actions, but these don’t help much. Since this is supposed to be the finale, it feels more like X-Men: Apocalypse Part Two than a grand epic. Overall, Dark Phoenix isn’t terrible, but it does majorly disappoint.

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June 9, 2019
Brightburn (2019)

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Love them or hate them, superhero movies are more popular than ever and seem to not be losing any steam. Of course, with the current flood of superhero movies, certain audiences are experiencing superhero fatigue and getting tired of them. Around the time the Marvel Cinematic Universe was starting up, Saint Louis native James Gunn brought us his superhero take. 2010’s Super, about a vigilante who goes after a crime boss after taking his wife, was a much darker take. While not as popular as Kick-Ass released the same year, the movie still maintained a cult following to this day. Given the dark material, as well as his work with Troma, it’s surprising Gunn got to work with Marvel/Disney. While making Guardians of the Galaxy movies, Gunn also produced movies like The Belko Experiment based on an earlier script. Now, he’s producing Brightburn, written by his cousin and brother.

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In the small town of Brightburn, Kyle and Tori Breyer (David Denman and Elizabeth Banks) are trying to have children. One night, a meteor crashes near their farm, and they find a baby boy inside and decide to adopt him. Twelve years later, their son Brandon (Jackson Dunn) begins to show signs of strange powers and develops a stubborn attitude. The parents notice Brandon doing strange things like chewing a fork, sleepwalking to the barn, and scaring the chickens. Soon, things get worse after he accidentally breaks the hand of classmate Caitlyn (Emmie Hunter), resulting in a two-day suspension. One night, Brandon finds the spacecraft that brought him to Earth and learns his true purpose, chanting “take the world.” Before long, people end up missing or dead, namely Caitlyn’s mom Erica (Becky Wahlstrom) and Brandon’s Uncle Noah (Matt Jones). Will Brandon be stopped or will his reign of terror intensify?

Looking at the basic premise of the film, there’s plenty of similarities between this and the origin story of Superman. However, whereas Superman came to be a hero, Brandon has come to cause mass destruction and go on a rampage. Admittedly, Brightburn doesn’t go very far with this concept, as there’s plenty of potential for something more and thought-provoking. While a disappointment, this still delivers a fairly entertaining experience for horror fans and an interesting twist on superhero movies. David Denman and Elizabeth Banks help to propel this film thanks to their strong performances, giving it their full commitment. Banks really comes across as someone who wants to be a loving mother despite what her son has done. Conversely, Denman is believable as the skeptic who realizes the threat Brandon poses and tries being the voice of reason. Their dynamic helps to add a lot to the material.

Jackson Dunn honestly isn’t terrible here, acting especially creepy when he starts acting up and going on a rampage. The rest of the cast, though not memorable, still do their jobs fairly well and don’t drag the movie down. The movie definitely delivers is in shocks and gore, highlights including glass in someone’s eye and someone’s jaw getting snapped. The climax of the film has similar suspense and gruesome gore, so fans of that should be satisfied. In all honesty, while Brightburn isn’t terrible, it’s more of a rental or $5 movie than paying full theatre price. My biggest issue with this is that there’s an interesting concept worth exploring, but not much is done with it. It’s still worth it for the performances and the big set pieces, but don’t expect much else going in. Overall, Brightburn is a fun if disposable shocker you might find some enjoyment with.

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June 5, 2019
Rocketman (2019)

[et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ z_index_tablet=”500″ text_text_shadow_horizontal_length_tablet=”0px” text_text_shadow_vertical_length_tablet=”0px” text_text_shadow_blur_strength_tablet=”1px” link_text_shadow_horizontal_length_tablet=”0px” link_text_shadow_vertical_length_tablet=”0px” link_text_shadow_blur_strength_tablet=”1px” ul_text_shadow_horizontal_length_tablet=”0px” ul_text_shadow_vertical_length_tablet=”0px” ul_text_shadow_blur_strength_tablet=”1px” ol_text_shadow_horizontal_length_tablet=”0px” ol_text_shadow_vertical_length_tablet=”0px” ol_text_shadow_blur_strength_tablet=”1px” quote_text_shadow_horizontal_length_tablet=”0px” quote_text_shadow_vertical_length_tablet=”0px” quote_text_shadow_blur_strength_tablet=”1px” header_text_shadow_horizontal_length_tablet=”0px” header_text_shadow_vertical_length_tablet=”0px” header_text_shadow_blur_strength_tablet=”1px” header_2_text_shadow_horizontal_length_tablet=”0px” header_2_text_shadow_vertical_length_tablet=”0px” header_2_text_shadow_blur_strength_tablet=”1px” header_3_text_shadow_horizontal_length_tablet=”0px” header_3_text_shadow_vertical_length_tablet=”0px” header_3_text_shadow_blur_strength_tablet=”1px” header_4_text_shadow_horizontal_length_tablet=”0px” header_4_text_shadow_vertical_length_tablet=”0px” header_4_text_shadow_blur_strength_tablet=”1px” header_5_text_shadow_horizontal_length_tablet=”0px” header_5_text_shadow_vertical_length_tablet=”0px” header_5_text_shadow_blur_strength_tablet=”1px” header_6_text_shadow_horizontal_length_tablet=”0px” header_6_text_shadow_vertical_length_tablet=”0px” header_6_text_shadow_blur_strength_tablet=”1px” box_shadow_horizontal_tablet=”0px” box_shadow_vertical_tablet=”0px” box_shadow_blur_tablet=”40px” box_shadow_spread_tablet=”0px” global_colors_info=”{}”]Reginald Kenneth Dwight, better known as Sir Elton John, is one of the most successful musical artists of all time. His records have sold millions of copies worldwide, he’s had several Top 40 hits, and has had several number-one albums. Some of his most famous songs include “Crocodile Rock”, “Your Song”, “Goodbye Yellow Brick Road”, and “Candle in the Wind.” Naturally, with his life story and success, plans for a biopic had been in development for over two decades. One reason why the project staggered was because studios insisted the film be PG-13, but Elton didn’t want that. Eventually, while working on 2017’s Kingsman: The Golden Circle, director Matthew Vaughn decided to produce the film. He personally recommended Dexter Fletcher to helm the project, after being turned down for Bohemian Rhapsody, interestingly enough. With Taron Egerton in the lead role, 2019 saw the release of the anticipated musical biopic, Rocketman.

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Synopsis

As a child, Reggie was raised by his cold mother Sheila (Bryce Dallas Howard), and his caring grandmother (Gemma Jones). He becomes interested in playing the piano, receiving a scholarship at the Royal Academy of Music for his talents. Having grown up, he changes his name to Elton John (Taron Egerton) and starts getting his first taste of success. He manages to get a deal with manager Ray Williams (Charlie Rowe) and meets songwriter Bernie Taupin (Jamie Bell). The two become a hit after a performance of “Crocodile Rock” at the Troubadour club in Los Angeles. Soon, Elton falls for John Reid (Richard Madden), who becomes his new manager, but things start spiraling downward. John does find success with his flamboyant persona, but ends up addicted to alcohol, cocaine, and sex, Reid not caring. It’s a story of the price of fame and how people can leach off your success.

Review

When news of the film first started surfacing, many people were starting to draw comparisons with Bohemian Rhapsody. Obviously, they’re similar in that they’re both biopics about successful rock musicians struggling with addiction and their sexual identity. However, between the two, while Bohemian Rhapsody has its positives, I feel that Rocketman is easily the stronger film. For one, as good as Rami Malek was as Freddy Mercury, Taron Egerton delivers a great performance and then some. Not only is his acting amazing, but he also does his own singing, and he does a phenomenal job at that. Also, while Bohemian Rhapsody mostly skirted around the darker moments, Rocketman embraces those moments and doesn’t pull back. You really get a sense of the struggles that Elton went through and see the low points in his life. This is definitely the film that Freddy Mercury should have gotten in the first place.

What helps set this movie apart is that, though following the typical biopic structure, there’s very lively energy here. While they may seem obtrusive, the musical numbers help give the film a ton of energy and fun. Many of the numbers and songs used help to show what Elton was going through during parts of his life. Some of the highlights include the use of “Don’t Let The Sun Go Down On Me” and the titular “Rocketman”. Aside from Egerton, the rest of the cast does a good job, Bell is particularly giving a very human performance. You really feel for these two friends, how they support one another, and how they remain friends for years. If this film doesn’t receive at least one Oscar nomination, it will be a damn shame for that awards season. Overall, Rocketman is a powerful biopic that does its subject matter justice.

Buy Rocketman on Amazon: https://amzn.to/4hwkUmk.

Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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June 1, 2019
Ma (2019)

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I’ve talked before about Blumhouse and reviewed several of their films, and I’m generally a fan of their work. They’ve made some great films like Jordan Peele’s Get Out and Us, Split, Sinister, Whiplash, The Gift, and Upgrade. Of course, they’re known for their franchises like Insidious, Happy Death Day and Happy Death Day 2U, and The Purge. Granted, they’ve also put out bad movies like Unfriended, Ouija, and The Gallows, but no studio is perfect. Regardless of their overall quality, I admire Blumhouse for investing in smaller productions rather than spending millions on one film. Even if one of their films bombs like Jem and the Holograms, it’s not enough to complete sink the studio. I also respect how they take chances on otherwise ridiculous ideas and work with filmmakers that major studios would ignore. With that introduction out of the way, let’s look at their latest offering, Ma.

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Maggie (Diana Silvers) and her mother Erica (Juliette Lewis) have just moved from California to her mom’s hometown in Ohio. Not long after starting high school, she immediately makes friends with popular girl Haley (McKaley Miller) and her guy friends. They invite her to a private drinking spot, and they try unsuccessfully to get someone to buy booze for them. Eventually, they convince veterinary nurse Sue Ann (Octavia Spencer) to get booze for them, giving her the nickname “Ma”. Soon, Ma starts texting them and invites the teens to come party in her basement, which they agree to. Once their classmates starting coming and turning the basement into a real hotspot, Ma’s true nature starts to come through. As she grows crazier, the teens decide to block her, prompting her to go after them and their families. Soon, we learn what Ma’s true motivation is: revenge.

Between the poster and the trailers, it’s pretty clear that they’re bankrolling on the star power of their Oscar-winning lead. It’s easy to see why since Octavia Spencer is easily the best part of this otherwise sloppy and mediocre thriller. She almost perfectly walks the line between being sweet, friendly, and fun-loving, to psychotic, terrifying, and gleefully insane. It’s a shame that, as great as she is, the rest of the movie falls flat despite its potential. The rest of the cast, while not terrible, are mostly forgettable aside from Lewis, Luke Evans, and Allison Janney. While none of the teens are necessarily unlikable (Maggie is a decent lead), they feel more like archetypes than characters. Likewise, Tate Taylor (The Help, The Girl on the Train) directs the film competently, and there’s a few decent shots. From a film-making perspective, there’s nothing necessarily wrong here.

Honestly, the biggest problem with this movie is the tone, the movie seemingly not knowing what it wants to be. Through flashbacks, we find out that Ma was a victim of bullying, which led to her going crazy. It seems like the movie tries to give an anti-bullying message, but it’s wrecked by how ridiculous this movie gets. While there are some serious/scary moments here and there, it’s more funny and ridiculous than anything, creating tonal whiplash. It’s disappointing because it seems like this movie had potential to be great, but it never lived up to that. Given that Spencer was also a producer and she worked with Taylor on The Help, she clearly believed in it. Honestly, this might be good for a laugh or two, but don’t expect having nightmares anytime soon. Overall, Octavia Spencer’s performance slightly elevates Ma, but it’s a fairly mediocre and disappointing thriller.

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May 30, 2019